George, Graham, and Helmut Kallmann, and Kenneth Winters, "Oratorio Composition". In The Canadian Encyclopedia. Historica Canada. Article published February 07, 2006; Last Edited January 21, 2014. https://thecanadianencyclopedia.ca/en/article/oratorio-composition-emc

Oratorio Composition

Oratorio composition. Large-scale choral-orchestral works, usually on religious, often biblical, texts, but not from the liturgy.

Large-scale choral-orchestral works, usually on religious, often biblical, texts, but not from the liturgy. In character their librettos may be dramatic-narrative (as in such prototypes from the classics as Bach's Passions, Haydn's The Creation, and Mendelssohn's Elijah) or dramatic-contemplative (as in Handel's Messiah). The typical oratorio is laid out in a pattern of choruses and chorales interspersed with recitatives, arias, duets, and trios sung by the solo voices, the whole prefaced by an orchestral overture. Occasionally there are orchestral interludes. Oratorios have been staged, but staging is uncommon; they are done almost invariably in concert style, without action, scenery, or costumes. The particular conditions under which oratorios have been composed and performed in Canada - for and in monasteries, convents, churches, and concert halls - require the admission of organ, piano, and even, latterly, electronic sounds as accompaniment to the voices, as well as the full orchestra of tradition.

The difference between a large cantata and a small oratorio is hard to determine, but normally a cantata uses smaller, more various forces, attempts to fill a smaller dramatic canvas, and admits a much wider latitude in form.

It has been asserted that Alexis Contant'sCaïn (1905, and premiered that year) was the first Canadian oratorio. Though it probably was the largest and most imposing work of its kind to have been produced at that time, it in fact was preceded by Frantz Jehin-Prume'sOratorio dédié à Léon XIII (1886; no record of performance), Eva Rose York's David and Jonathan (performed twice in 1887 in Belleville, Ont), and Hugh Clarke'sJerusalem (Presser 1890; composed in Philadelphia). Other early oratorios include Napoléon Crépault'sLa Communion des saints (performed in Quebec City ca 1880) and Roberta Geddes-Harvey'sSalvator. Invoke Her Name with Praise, a 45-minute oratorio by Cyril C. O'Brien, had its premiere in Halifax, NS, in 1940.

Among the numerous cantatas, near-oratorios, quasi-oratorios, and oratorio hybrids, the list of clear examples of the genre seems short. The ensuing one, alphabetical by composer, attempts to be representative but cannot claim to be complete.

Geddes-Harvey, Roberta Salvator (scripture, with verses by Neale, Havergal, Gerhardt, Milton, Klugh, Heber, and Montgomery). ca 1906 (Guelph 1907?). Published by C.W. Thompson, Boston 1907. Later performed again in Guelph (in 1912) and in Toronto and Kingston